NEW YORK – The current Broadway revival of The Glass Menagerie, which made the 2013 year-end top 10 lists of numerous theater critics, has recouped its $2.6 million investment, leaving an additional seven weeks of profit for the limited engagement.

The 1944 modern classic was directed by John Tiffany, who reassembled his Tony-winning design team from the hit musical Once.

The Glass Menagerie began previews Sept. 5 and officially opened on Sept. 26. After receiving some of the best reviews of the fall, it has been playing to solid business, with a cumulative gross of close to $10.4 million to date. The limited run is scheduled to close on Feb. 23.

The production joins two star-powered non-musicals that have recouped since opening in the fall. Mike Nichols’ revival of Harold Pinter’s Betrayal, with Daniel Craig, Rachel Weisz and Rafe Spall, ended its 14-week run on Sunday with a $17.5 million gross. The return engagement of Billy Crystal’s 2004 solo show, 700 Sundays, also did huge business, earning $10.3 million in nine weeks, most of those with just six performances as opposed to the standard eight.

Other commercially produced plays from the fall, including the stage adaptation of John Grisham’s A Time to Kill, and Romeo and Juliet with Orlando Bloom and Condola Rashad, closed ahead of schedule in the red.

However, the repertory double from Shakespeare’s Globe of Twelfth Night and Richard III, starring Mark Rylance, has been a robust performer in the wake of stellar reviews and appears on track to announce recoupment of its $3.1 million capitalization very soon.

Given that the pairing of Ian McKellen and Patrick Stewart in Pinter’s No Man’s Land and Samuel Beckett’s Waiting for Godot also generated strong reviews and has been doing steady business, that double-bill production is expected to have recouped by the time its extended season closes on March 30.

Plays produced by nonprofit companies on Broadway – such as Roundabout’s The Winslow Boy, Manhattan Theatre Club’s The Snow Geese and Lincoln Center Theater’s Macbeth, all of which opened in the fall– are not bound by the same industry recoupment standards.